By Paul Hegstrom
In an explosive publication that explores the roots of abusive relationships, Paul Hegstrom stocks his own fight with anger and the way the injuries of his previous formed his destiny. For the guy who batters, the lady who feels trapped, and the pastor, counselor, or pal who desperately desires to support them either, offended males and the ladies Who Love Them bargains instantly, biblical solutions in case you are prepared to make difficult judgements and conquer the cycle of violence.
Read or Download Angry Men and the Women Who Love Them: Breaking the Cycle of Physical and Emotional Abuse (Revised Edition) PDF
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Additional info for Angry Men and the Women Who Love Them: Breaking the Cycle of Physical and Emotional Abuse (Revised Edition)
The next night you and your sisters head for a singles bar, advertised in the Tourism Ministry brochure, featuring ― 113 ― a go-go show of men. Thailand is a matriarchal Garden of Eden. The owner, welcoming you at the door, is an aged queen. The show consists of youths dancing desultorily to Western pop music who occasionally strip of their G-strings. They, you discover, hardly speak any English—selected for their looks from among laborers trucked in from the provinces to work in construction gangs in Bangkok.
Carnaval in Rio. In the Sambódromo, the great escolas de samba parade, dusk to dawn, for four nights. Each escola announces its arrival at the far end of the Sambódromo by first making the night pound and the stars dance with fireworks. The samba begins, the song is sung a cappella during the whole length of the time of the passage. Each escola consists of from two to five thousand dancers. They dance in massed groups, alas , separated by duos of banner-bearers doing intricate dances at speeds the eye cannot follow, enormous floats called alegorias , and passistas —mulatas on spike heels and men doing gymnastic feats.
Space not for the discontent of nature, but for the specific pleasure of theater. We foreigners, gaping at the female voluptuousness affected by these male performers, don't get a lot of what is going on, especially when the numbers are Indochinese female impersonations with Indochinese songs. The cabarets of Bangkok compete in sumptuous costuming and dazzling stage effects; the performers, superlative dancers and poseurs, virtuosos of an enormous range of moods and expressions, queens in realms of colored floodlights and canned music, affect more glorious and hilarious female wiles than one had realized Thai culture had created and foreign cultures exported.